[…]s, I think we were lucky in that. It did have attention. I mean, I think that was great to help by the Boulting brothers, who were then running British Lion that actually had his own short department division. Prior to that, I, I really walked out of or ran away and away to Paris. To stu[…]
[…]Harry Watt pioneered, as you were saying, and it was a tremendous step forward. But for many years I used to say to Edgar [Anstey] in the old days of British Transport, I'd say, "What a pity we can't do a little more dialogue shooting, I'm sure it'll be a good idea, you know. In certain films we cou[…]
[…] home office in Britain that if I wanted to get British nationality I must return to England because the last 6 […]
The copyright of this interview lies with the \british Entertainment History Project Interview with Lusia KrakowskaLusia Krakowska, Film Editor Interviewer Roy FowlerRecorded on the 23rdJanuary 1998Side One:RF: The date is 23rdJanuary 1998 and we're recording Lusia Krakowska, that is L-U-S-I-A […]
[…]d from time to time as assistant for other cameramen. Other cameramen I worked for—I remember working for—were James Ritchie, later a producer at the British Rail Unit, and John Reed [UNVERIFIED], John R.F. Stewart, and Bill Pollard. It was with Bill Pollard I remember having possibly my most enjoya[…]
Elizabeth Furse DRAFT Tape 1 Side AThis recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, University of Leeds) and Dr Vicky Ball (Co-Investigator, De Montfort University). (201[…]
[…]oke, with the Schufftanprocess, very, very good shot for that periodRoy Fowler: The other famous one usually pointed to is one of the Hitchcocks, the BritishMuseum sequence in not Sabotage, I think it was SabotageMaurice Carter: Sabotage was made at the Bush, of course. Vetch and I worked on The39 S[…]
[…]arles Wilder: Yes. I did that one, that was at Shepperton. I did most of the films at Shepperton. Because I was partly under an agreement to work for British Lion at one time but Maurice Ostrer wouldn't - I was still working for the Ostrers and he wouldn't sign the agreement so I just carried on wit[…]
[…] transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie […]
